TWO landmark indies: Auraeus Solit’s “Ang Pagdadalaga ni Maximo Oliveros” and Brillante Mendoza’s “Adela.”

MANILA, Philippines—The independent film community has given the country countless reasons to celebrate in the last five years: awards heaped upon the Pinoy filmmakers' work by international festival jurists.

Fittingly, the Philippine Daily Inquirer, on the occasion of its 25th anniversary, pays tribute to 25 indie filmmakers for rendering such a unique and significant service to the Filipino.

Dubbed the first Inquirer Indie Tribute, the recognition is long overdue. Apart from winning accolades in international festivals—including the Top Three: Cannes, Venice and Berlin—since 2005, indie scene denizens have acted as unofficial ambassadors of goodwill for the country, showing the world the fierce nobility and quiet perseverance of the Filipino even under the most challenging circumstances.

In a lot of ways, the trials that indie filmmakers face with every project—lack of support, low funds, bureaucratic insensitivity etc.—mirror the tribulations that many Filipinos confront on a daily basis.

Five years ago, when indie films started winning awards, some media practitioners scoffed, virtually dismissing the "digital revolution" as a passing trend. While the scandalous and the trivial hogged headlines, the accomplishments of the indies had, until then, remained largely unheralded in the mainstream media.

From the get-go, Inquirer Entertainment treated the indies as truly newsworthy newsmakers, every giant step as a laudable cause for celebration.

The whole world literally caught up with the Pinoy indie spirit soon enough. As the technology developed, the indies made inroads into the mainstream scene as well.

Today, it's not uncommon for indies to get nominated (and often win) in mainstream award-giving bodies. It's no longer unthinkable for so-called commercial stars to top-bill indie productions.

Times have, indeed, changed. The Inquirer is happy to have been very involved observers.

TWO landmark indies: Auraeus Solit’s “Ang Pagdadalaga ni Maximo Oliveros” and Brillante Mendoza’s “Adela.”

For their myriad achievements, we honor these 25 indie filmmakers, one artist to mark each year of PDI's silver anniversary next month: Adolfo Alix Jr., Alvin Yapan, Ato Bautista, Auraeus Solito, Brillante Mendoza, Chris Martinez, Ellen Ongkeko-Marfil, Erik Matti, Francis Xavier Pasion, Jerrold Tarog, Jeffrey Jeturian, John Torres, Jon Red, Khavn de la Cruz, Lav Diaz, Mes de Guzman, Mike Sandejas, Milo Sogueco, Paolo Villaluna and Ellen Ramos as a tandem, Pepe Diokno, Ralston Jover, Raya Martin, Raymond Red, Rico Maria Ilarde, and Sherad Anthony Sanchez.

They have populated these past five years not only these pages, but also prestigious publications abroad. Some have since served as as jury members in top-tier competitions.

Via their rich and varied filmography, these filmmakers—who cover diverse styles, genres, traditions and temperaments, have painted the ever-changing face of the Filipino: from troubled hostage-taker (Red's "Himpapawid") to failed pawnshop owner (Sogueco's "Sanglaan"); from lonely octogenarian (Alix's "Adela") to promising science student (Solito's "Pisay"); from impoverished Aeta teacher (Mendoza's "Manoro") to corrupt politician (Tarog's "Confessional"), from pirated DVD vendor (Martin's "Now Showing") to Benguet schoolchildren (in De Guzman's "Ang Daan Patungong Kalimugtong"), from willful bet collector (Jeturian's "Kubrador") to depressed violinist (Ongkeko's "Boses")—among other colorful characters.

Not always a beautiful portrait, but consistently good and true.

The Inquirer will fete this first batch on Dec. 16 in a simple ceremony at the newspaper's headquarters in Makati City. It is a modest list, for now. We're certain that more names will emerge for future celebrations.